Complaints about the creative brief that have nothing to do with the creative brief.

Small Fish With Ambitions Of A Big Shark - Business Concept

Complaints are often disguises. Each one is meant to hide a central truth, a truth that emerges only after you listen carefully to the rant. When the blame for some marketing shortfall lands on the creative brief, an easy target, the real culprit lies elsewhere.

Here are three of my favorites:

1. The creative brief is no longer relevant.

2. There’s something wrong with our creative brief.

3. If the brief isn’t great, the creatives will figure out the Big Idea.

I’ve heard versions of these whinings in conversations, in articles, and online. They’re all full of shittake mushrooms.

You don’t have to be a psychologist to understand what the real issue is. But I’ll play psychologist today and shed some light on these laments.

First: The creative brief is no longer relevant.

I hear this one the most. When I ask for elaboration, the line of thinking goes like this: There are too many platforms today (meaning social media and mobile) requiring different messages to reach our target consumer. The old models of advertising, like feature/benefit or information-based messages, don’t work in these settings. We have to change our approach…blah, blah, blah.

So look carefully. The complaint starts with the brief, but veers rapidly into the message, the communication. The bickering has nothing to do, in the end, with the brief itself. If you’re present enough in this conversation to stop and point this out to your interlocutor, the funny thing is: They agree with you!

It’s not about the creative brief. The complaint is about the work that arises from the creative brief!

Second: There’s something wrong with our creative brief.

I hear this one quite often. It always makes me laugh. I typically respond with this story:

Imagine you had the opportunity to visit the home of your favorite clothes designer, say Yves St. Laurent or Giorgio Armani. You walk into his personal clothes closet and look around. Even if it were empty, you have to believe the space itself would be impressive. walk in closet

But you don’t care about the closet, do you? No! You want to see what’s in it! You want to see the suits, the jackets, the material they’re made of. The shoes, the sweaters, the hand-made shirts. You want to see and feel and smell the quality around you. If you like clothes even just a little bit, you want to be surrounded by this genius’ creations.

So the creative brief is like a closet. It means nothing when it’s empty. It’s just a piece of paper with boxes or questions.

What we care about is the contents! The answers to those difficult questions. The clothes, baby! The clothes!

Stop worrying about the creative brief template. Even the worst template can dazzle if the answers to its questions are inspiring and thoughtful and engaging.

If you blame the template, you’re making an excuse for an ill-prepared creative brief writer. Please stop!

Third: If the brief isn’t great, the creatives will figure out the Big Idea.

This one hurts. This one clearly misses the point of the creative brief. It’s just plain wrong.

The brief, after all, is the first step of the creative process. It’s the first swing at solving the problem.

In other words, the creative brief is the Big Idea.

The creatives assigned to read it, work from it and be inspired by it deliver executions of the Big Idea. They translate the Big Idea into communications that sell. If the writers of the creative brief have stepped up, the heavy lifting has been done.

Abstract illustration concept for design

You know instantly when you’re reading a stellar creative brief. You can see how others are reacting. Look at their body language. Their wheels are turning. They’re asking questions. Talking about executions. They’re already working on the problem. They’re excited!

The opposite is equally visible. If the brief is uninspiring, everyone feels it. Or doesn’t feel it to be more accurate. Garbage in, garbage out.

Handing over an unfocused document filled with unfiltered thinking, lacking a compelling claim (the single-minded proposition), and passing the buck to the creative department to fill in missing information, disrespects the brand, the client, the agency, and all the people involved with making and selling the product.

We like to blame the creative brief for many ills, but we can’t blame it when the problem has nothing to do with the creative brief itself.

If old models of advertising fail, fix the models. We’re seeing this happen everyday. Brands talk about storytelling.

If you’re not getting the right information from you brief, remember: It’s a blank piece of paper until you fill it with questions. Change the questions if you must! But don’t blame the questions. Blame the answers!

If you don’t believe the creative brief is the repository of the Big Idea…well, maybe it’s time you found a different line of work.

No wonder you blame the creative brief.

 

How to break the first rule of advertising

On July 19, the folks at Faktory, an ad agency in Utah, published a thought-piece on Medium.com. I liked it so much, I posted a link to my LinkedIn page. I still like it. A lot.

The premise is elegant and simple: If you want people to not only remember your communication, but to break what the writer described as the first rule of advertising (“No one looks for your ad”), you must connect with your audience in three ways:

  1. With a truth
  2. With an emotion
  3. With a story

Brilliant!

A truth is what I’d call an “insight”: something unique or previously unknown about your consumer, the marketplace, the product category, sometimes a combination of two or more.

An emotion is the deliberate evocation of an authentic feeling. This is what the best of advertising does so well. And so rarely.

And story. This is a narrative, they wrote, that rewards you at the end. They claimed it did not need to be linear. But they added a fourth point that I think was redundant:

Don’t mess [your audience] up by trying to say or do too much.

This is correct. But the good folks at Faktory veer off course just a bit. I think they should stick to three ideas, but enhance one of them. Specifically, point #3: a story with a message.

The definition of “story” after all, is: a narrative that arrives at a point, a resolution, a message. A story without a message isn’t a story at all.

The ads they liked so much—Old Spice #SmellLegendary—are in fact linear stories. Each has a beginning, a middle and an end. They may be absurd, but they are linear, and they have a point. I know this is what Faktory’s writer meant. smell

I have a name for this reward: The single-minded proposition.

Your ad (story) will not resonate if you have too many things to say. But one clear message, driven home within a compelling narrative, makes a memorable, and therefore effective, communication.

That’s why I would argue that the “rule of three” applies: A truth, an emotion, and a story (with a clear message). Do these three things, and you can negate Faktory’s astute “first rule of advertising”: No one goes out of their way to look at advertising.

Because some well-told stories have accomplished the seeming impossible: they’ve gone viral. People not only look for them, they even ask for them by name.

All I’ve done here is nit-pick. I’ve added succinctness to an otherwise strong argument. A story without a point is no story at all. It’s an example of your drunken Uncle Fred at the family dinner rambling on about…well, whatever. He has no point. But he loves the sound of his voice.

Here’s an example in :30. It’s a TV spot for Lexus, called, I’m sad to say, “Turning the Page.” There is no truth. No emotion. No single-minded story. It’s a spoken cliche reinforced with a visual cliche. What we used to derisively call “See–Say” advertising: see it, and because the advertiser believes the audience is stupid, say it, too.

Where do you find the elusive truth? The authentic emotion? The single-minded story?

If you’ve read my essays before, you know the answer: the creative brief.

This is where creatives find the inspiration for Big Ideas like #SmellLegendary and the other examples Faktory’s article highlighted. If you haven’t read the article, read it now. Re-read it. Talk about it. Make certain your creative briefs address each point.

Well done Faktory.

 

Five truths every creative brief writer must face.

I offer these five truths about the creative brief that will help you take a successful first step of the creative process.

1. Collaborate, especially with creatives. Never write this document by yourself.

How many of you remember Steve Jobs’s Parable of Rocks? It bears repeating. This is Jobs speaking: Steve Jobs

“When I was a young kid there was a widowed man that lived up the street. He was in his eighties. He was a little scary looking. And I got to know him a little bit. I think he may have paid me to mow his lawn or something.

“One day he said to me, ‘Come on into my garage I want to show you something.’ And he pulled out this dusty old rock tumbler. It was a motor and a coffee can and a little band between them. And he said, ‘Come with me.’ We went out into the back and we got some rocks… some regular old ugly rocks. And we put them in the can with a little bit of liquid and little bit of grit powder, and we closed the can up and he turned this motor on and he said, ‘Come back tomorrow.’ This can was making a racket as the stones went around.

“And I came back the next day, and we opened the can. And we took out these amazingly beautiful polished rocks. The same common stones that had gone in, through rubbing against each other like this (Jobs clapped his hands), creating a little bit of friction, creating a little bit of noise, had come out these beautiful polished rocks. river rocks

“That’s always been in my mind, my metaphor for a team working really hard on something they’re passionate about.

 “It’s that through the team, through that group of incredibly talented people bumping up against each other, having arguments, having fights sometimes, making some noise, and working together they polish each other and they polish the ideas, and what comes out are these really beautiful stones.”

I know you’re thinking that he’s speaking about creative people: art directors, copywriters, digital folks, graphic artists and others. Maybe.

But think about the principle. Put an account planner, a creative and an account management person in a room together, and have them forge a creative brief as a team. Everyone has a stake. It’s not “You write it, I’ll work from it.” No. It’s a team effort.

Creatives have done this for decades. Creative brief writers should be doing it this way, too.

2. You must make choices. Less is definitely more.

The tendency is to cover your butt. You don’t want to accused of forgetting something. So everything is included. Nothing is excluded. Your brief is not brief.

Not everything matters. You must make decisions. The principle of “Liberating constraint” applies here. Box in your creative team with restrictions, rules, walls, the very things they detest. The result is creative freedom. This is the definition of the creative brief.

The creative brief is not a product encyclopedia. It’s the opening line of a brand poem.

3. Take a stand, and stand by it. You must be courageous.

If the Single-Minded Proposition (or the Core Idea, or the One Thing, or whatever you call it on your brief) does not spark a debate, go back to the drawing board and try again.

When it does spark a debate, relax. You done good. Now defend it.

4. If you’re really a professional, practice.

Gary Player, the South African golf legend, told this story some years ago.

Player was practicing sand shots out of a green-side bunker when a fan stopped by to watch. Player hit shot after shot after shot, each one landing softly on the green and rolling into the cup. After each shot, he heard his fan say the same thing, “That’s just luck!”

Player, clearly annoyed, turned to the man and with a smile on his face, said, “That’s right! The more I practice, the luckier I get!” Gary Player

If the only time you write a creative brief is when you actually have to write a creative brief, you’re doing yourself a disservice. And everyone else on the team.

Imagine if Gary Player hit a sand shot only when his ball actually landed in a bunker. Or if LeBron James shot a free throw only when he was fouled. Imagine if these two sports giants never practiced. You know what would happen. We would never have heard of them. They’d have been failures.

It’s your job to practice writing a brief even when no brief is required. You can do this anytime: On your commute. Waiting in line for coffee. In the dentist’s chair. Think about a product, an everyday item, anything. What is its Single-Minded Proposition? Who would truly use it? What insights can you conjure about this consumer? What are the obstacles to overcome?

These are simple mind exercises you can do at any time. You don’t have to put fingers to a keyboard. But you do have to engage your brain. It’s a muscle like your bicep or hamstring. Use it. Practice.

The point is to develop muscle memory. Do this for 30 days and you have a habit. A professional habit.

5. You have permission to be creative!

The creative brief is the first step in the creative process. I like to quote Sir John Hegarty here: The brief is the first ad. It doesn’t have to be great, but it must be good.

So don’t be shy. You are allowed, encouraged, to offer up creative ideas. I have seen them called “creative starters” on some briefs. They may lead nowhere, but if you leave them out, we’ll never know, will we?

Remember these five truths and you will write better, clearer, more inspiring creative briefs.

To tell an authentic brand story, write an inspired creative brief.

In 1989, I was a copywriter for a small business-to-business advertising agency in Milwaukee.

Two facts stand out about this job. The first is that the shop did not use a creative brief. The document was not part of its day-to-day operations. I fixed that.

The second relates to one of its bigger clients, an American manufacturer of turf equipment, one of whose marketing executives I met on many occasions. This executive used to repeat a phrase I never forgot. He used it every time I, or one of my colleagues, asked this question when we started a new project:

“What’s the one, most important thing we need to say about your product?”

His answer still startles me, almost 30 years later.

“We don’t have just one thing,” he said. “We have a unique package of features.”

Except that no one tells a story about a unique package of features. That’s not how it works.

Storytelling as a tool for advertisers was not on many people’s minds in the late 1980s. A handful of brilliant thinkers, like Steve Jobs, knew better.

The history of storytelling dates to at least cave dwellers who left us drawings on walls that told visual stories. Let’s just say that storytelling is old. lascauxhorsesaurochshd

The creative brief isn’t. But chances are, few people working in advertising today were in the business when the creative brief came into existence. Account planning was born in 1965, and with it the creative brief.

The purpose of the creative brief has remained unchanged since its inception: to give succinct and inspired instructions to an advertiser’s creative partners with the expectation that a sales-driving idea emerges.

In the last 50+ years, the creative brief’s template has changed, but its purpose has not. It remains debatable whether the brief’s credibility and respect match its designed purpose, but that’s another story.

At least three questions that should be on every creative brief provide the impetus for a memorable brand story.

But first, a word of advice:

No brand story can unfold without internal buy-in. An authentic brand story is not manufactured. It does not arise from external (meaning outside the company) sources. It does not answer the questions What? or How? about a brand. It answers Why? Why does the brand exist?

Think about the best brand storytellers and you’ll see why this advice is true. And why it matters.

Here’s my short list:

Greats.

I’ll let the founders speak. (By the way, I own two pairs. I LOVE ’em!!)

Blue Apron.

I’ve used this product, too, but not currently. This isn’t an endorsement. It’s high praise for the story they tell. Here’s a highlight from their website:

“Our mission is to make incredible home cooking accessible to everyone.”

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Every piece of communication from the company reflects this singularly focused message.

Harry’s.

I use an electric shaver, but if I didn’t, I’d probably buy Harry’s razors. Why? I’ll let their website speak:

The shaving company that’s fixing shaving
We created Harry’s to be different from the other shaving brands. Unlike the big brands that overdesign and overcharge, we make a high-quality shave that’s made by real guys for real guys.

Harrys-Hero

Each brand’s core message answers the question: Why does this product exist? That’s what the story is built around.

So which questions on the creative brief help creatives arrive at a brand story?

1. What is the Single-Minded Proposition? No matter what you might call it, and it has many names (Unique Selling Proposition, The One Thing, Key Message), this is the heart of any great story.

You’ll know your story is right when you can end it with this line: “And that’s the reason why (single-minded proposition here)…”

Try it with the three brands on my list of brilliant storytellers above. It works.

2. What is an authentic customer insight? If you’re focused on meeting company goals, you can’t successfully address what your customer needs. They come first. Always. A believable story begins and ends with your customer. Your insight should reflect this essential truth.

Arriving at an authentic customer insight does not require gobs of research money. If you know what the Socratic Method is, you have the tools to dive deep into your customers’ thinking to discover and address your their emotional wants and needs.

3. What is the company/product/service background? If you don’t ask this question, you will never understand why the company or product or service came into being. You need to be the equivalent of a brand archeologist. Move beyond features and benefits.

We advertising folk are storytellers. It’s in our DNA to fashion a story on behalf of the brands we are tasked to sell.

The details—the essential elements of your story—are embedded in the creative brief.

Storytelling is about basics. So is the creative brief. It’s the first step in developing your authentic brand story.

Would you like students to quote you in classroom discussions?

I need your help.

My new book is tentatively titled How To Write A Killer Single-Minded Proposition. It’s a companion to my critically acclaimed text, How To Write An Inspired Creative Brief 2nd edition. OOS Icon

Like my current book, this new graphic text will be a nuts and bolts examination of the single-minded proposition (SMP). It will include step-by-step instructions on how to arrive at this sentence or phrase, practical exercises, examples of well-written SMPs, and advice on how to fix weak SMPs. I’ll also look back at the history of the creative brief.

An important feature will be comments and insights from professionals in advertising and marketing on this most important part of the creative brief.

Will you help me? Do you have an opinion on what makes a good SMP?

This is your chance to weigh in.

If I use your comments, I’ll send you a signed copy of the new book absolutely free

First, please complete a short, four-question survey. If you wish, you can cut-and-paste this URL into your browser: https://www.surveymonkey.com/r/FZF7WMN.

Also, share this link with friends, colleagues and people whose opinions readers would value.

My current textbook is now required reading at a growing number of undergraduate and graduate programs around the country, including the University of Minnesota School of Mass Communications and Journalism and New York University’s graduate program in Integrated Marketing.

Students could soon be quoting you in classrooms far and wide. quotes

Thanks in advance for your enthusiasm and willingness to share your wisdom.

 

When your creative brief process is broken and how to fix it.

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Beginning writers tend to learn a lesson about plagiarism the hard way. They commit it unintentionally. They didn’t mean to quote an author without giving him or her due credit, but…

Unintentional plagiarism, I can attest from years of classroom experience, is the most likely kind of plagiarism a college freshman blunders into. The problem is, it’s still plagiarism and they still fail the paper.

The analogy works for a broken creative brief process. The participants, whether they’re in an ad agency or the marketing department of an advertiser, often have no idea their briefing process is broken. They didn’t mean to mess it up, but they did. Something isn’t right, and they keep chugging along hoping to muddle through.

It’s not unlike the definition of insanity: You keep doing the same thing over and over and hoping for, well, you know the rest.

So how can you tell when your briefing process is broken? What are the red flags?

Look for these four warning signs. In fact, if you recognize even only one of them, it’s time to address your creative briefing process before it does, in fact, break.

You Know It’s Broke When:

1: The people who work from the brief roll their eyes after it’s presented.

That’s an exaggeration. The people who work from the brief, and this is the creative people, are a difficult lot to begin with. They love to complain: about bad briefs, bad coffee, bad shoes. They complain because it’s in their nature. They tend to be jaded and borderline cynical. Okay, forget borderline.

They complain about bad briefs, especially, because they read them so often. They may in fact respond to any brief with an exasperated sigh. It’s reflexive. They can’t help it.

But if this happens frequently and is followed by a rush of questions of a certain nature, you’re in trouble.

These questions tend to look like this:

“I thought you said we couldn’t…”

“Are you sure you mean it this way? Last time you said…”

“Why is this okay now? Last month…”

“But I thought they hated (insert color/celebrity/location/idea)…”

“Wait a minute. That single-minded proposition has two/three/four ideas. Which one do they really mean?”

2: The parties do not agree on content.

You Know It’s Broke #2 is a subset of #1. Even if you can satisfactorily answer all the questions posed by your creatives after the briefing, you may not have a salvageable brief.

Those questions—and the underlying attitude of skepticism—tend not to be addressed to anyone’s satisfaction, and are a symptom of the broken process.

The fundamental premise of the brief comes into question. One of two things can happen.

First, the briefing ends in disagreement and creative go off and write their own brief, even if it’s not a formal document. They devise their own Single-Minded Proposition and that becomes the brief.

Sometimes this actually works. But you won’t know it even happened until the day the work is presented. If the work does not meet expectations, the Creative’s Creative Brief Syndrome is typically to blame (that’s my fancy term for the creative department’s DIY brief. Which you don’t want).

I know. I’ve committed this heresy myself, although only a handful of times. I’d say my batting average was above .500. That’s exemplary if you’re in the Majors. It’s horrible when you bomb in a creative presentation.

The second scenario, and the more likely outcome, is that the creative team leaves the briefing confused, and that’s what the work looks like when it’s presented. It’s a perfect illustration of “garbage in, garbage out.”garbage-in-garbage-out

These situations are why I wrote my book on the creative brief. It was the result of feeling utterly frustrated because my creative department operated either without a formal brief altogether, or we functioned with a brief that one or more players did not fully embrace. Any process is only as strong as its weakest link.

3: Only one player in the process writes the creative brief. This situation will almost always guarantee Reasons 1 and 2 above.

You Know It’s Broke #3 stands independent of the first two. It’s a symptom of old-school silo-ing, a tradition that dates back decades.

The creative departments of major ad agencies know first hand about the silo effect. In the 1950s and into the 1960s, most creative departments did not have “teams” of art directors and copywriters. They were separate departments. The did not talk to each other.

Geniuses like Bill Bernbach changed that. Copywriters and art directors were teamed up and expected to work together. The results played a seminal role in producing the Golden Era of advertising in the 1960s.

silosAccount and brand planners have wised up in recent years. They have been moving away from working independently as the owners of the creative brief and have advocated for cross-department collaboration. The principle that works so well in creative departments applies here.

If the author of the creative brief in your place of business works alone, even if she works with a partner in the same department, chances are you have a broken creative briefing system, or one that is sick and needs 911.

If creatives have no role in the process, they have little at stake. If they collaborate on not just writing the brief, but then also play a role in briefing on the brief they helped author, things change. Drastically and dramatically.

4. The reviewers of the creative work don’t know how to review the creative work.

The ability to offer clear feedback on the creative work is an absolute job requirement. There is no excuse for being inarticulate or afraid to hurt someone’s feelings.

Rest assured, advertising creatives are professionals. They have thick skin and can take criticism.

Still, being a critic is not easy. It takes finesse, patience and practice. Especially practice.

So I recommend that you practice. A lot. You don’t become adept at writing a creative brief by doing it once. Or even 10 times. You must write them dozens of times and even then you’ll learn something new with each attempt.

Find a piece of creative work not connected to your job or your brand. It could be a TV spot or an email.

Critique it. What do you like? What doesn’t work? Make a list. Write down your thoughts. You don’t have the creative brief against which to judge it, so use your savvy as a consumer.  You are, after all, a consumer.

Team up with a creative in your department or at your agency. Work one-on-one with a piece of neutral creative (meaning something neither you nor the creative is connected to) and ask questions about how to review it. Believe me, your creative partner will have some thoughts and won’t be afraid to speak them out loud. This is a learning opportunity for you.

The point is, the only way to become proficient at reviewing creative is to review it.

Remember the old joke: How do you get to Carnegie Hall? Practice, practice, practice.

Step back and ask yourself some tough questions about your creative brief and the process of briefing. If you suspect any one of the symptoms I’ve discussed above, it’s time to reexamine your process.

How many “practice” creative briefs have you written?

kobe-bryant-practices-in-nike-kobe-9-elite-02-570x570Basketball legend Kobe Bryant has made countless jump shots and layups in his practice sessions.

“As a kid growing up, I never skipped steps. I always worked on fundamentals because I know athleticism is fleeting.”  Kobe Bryant

Tennis star Serena Williams has likely hit uncountable numbers of volleys in practice since she was a young girl. Someone asked if her success were due to luck.

“Luck has nothing to do with it, because I have spent many, many hours, countless hours, on the court working for my one moment in time, not knowing when it would come.”14SERENA1-master768

The legendary golfer Jack Nicklaus has said that he played fewer tournaments than his fellow competitors because he chose to spend that time practicing his game at home.

“Nobody—but nobody—has ever become really proficient at golf without practice, without a lot of thinking and then hitting a lot of shots.” Jack Nicklaus

Seinfeld has told tens of thousands of jokes on stages across the country. Ballet star Misty Copeland has spent thousands of hours in the classroom, working at the ballet barre, all in preparation for her performances. Speaking legend Tony Robbins has rehearsed hours and hours for his presentations.

The same is true for ministers, gymnasts, coaches, courtroom lawyers…you name the profession, and you can imagine the almost unimaginable hours of preparation these dedicated individuals have devoted to their craft, all to be ready to display their skills when they matter most: on the job.

So I ask you: How much preparation have you put in to write a creative brief?

Here’s my guess: Exactly none.

There is no preparation. You just write one when you have to write one.

And therein lies a major missed opportunity. No one practices the skills required to write a creative brief well. There is no “creative brief boot camp” to make you sweat your tail off learning the fundamentals of writing this document. There should be.

Sounds absurd, right? Not from where I sat, which was on the receiving end of one of those too often poorly written documents that landed on my desk.

As a point of comparison, creatives constantly practice their concepting skills. Young creatives especially. Sometimes they don’t know when to stop practicing. They do “spec” work, whether it’s for their own professional portfolio or some pro-bono client or even a friend’s dog-sitting service. They’re like little “Energizer bunnies”: they keep concepting and concepting until their brains cramp. This is how they get really good.

When I was younger, I used to flip through the Yellow Pages (remember that?) until I’d find an interesting business, the more obscure the better. Then I’d create a spec ad for that business. Back in the 1980s, when I was just getting started, I wrote a spec-ad for a music teacher who taught the accordion: “I can teach anyone to carry a tune.” Groaner, yes, but the fact is, I practiced my craft even when no one was looking.

If you write creative briefs for a living, can you say the same? If the answer is no, my next question is: Why not?

I’ve said it over and over: the creative brief is the first step in the creative process. Get it wrong here and everything that follows suffers proportionately. It’s the principle of “garbage in, garbage out” at work.garbage-in-garbage-out

Practice is vital.

But who has time to practice?

Professionals do. If you’re a professional, you must practice.

Here are three techniques you can adopt right away.

1. Practice in your head.

One of the more important questions on a creative brief is, “What is the Single-Minded Proposition?” This is something you can practice formulating as you commute to and from work. You don’t even need pen and paper.

Imagine the product or service, conjure its key benefit and translate that benefit into a “What’s in it for me?” proposition that directly addresses the product’s best customer. Think of that short phrase or sentence. Don’t stop there. Think of alternatives. Come up with many SMPs. Which one is the best? Why?

Turn this into a brain-game and repeat it often. It’s called practice. It’s what professionals do.

2. Follow your creatives’ lead: Do spec work for a favorite cause or a pro-bono client. Now you have a reason to practice.

If you don’t do this already, it’s time to start. Most agencies and brands dedicate time and resources to charitable causes. Volunteer. Even pro-bono projects need creative briefs.

3. Start an in-house creative-brief writing workshop whose purpose is honing brief-writing skills. Volunteer to lead it.

The first time I was asked by a dean of student affairs at one of the community colleges where I now teach whether I’d ever taught grammar, I hesitated for just a second before saying yes and accepting the assignment.

In truth, I’d never taught grammar before. But it turned out to be the best and most fun experience I’ve had in the classroom. And I mastered the fundamentals of grammar because…

…I had to teach them!

Whether you’re a 20-year veteran or a newbie, you, too, can teach someone how to write a better brief. When you teach, you become a better practitioner. If you do even rudimentary research online, you’ll find source material that will help you teach brief writing, and my book is only one of them (although I happen to think it’s the best source).

The point is, every brief writer needs practice. No professional doesn’t need practice.

Take the initiative. Start now. Because you’re a professional.

What all good single-minded propositions have in common.

Many years ago, about a week into a new job I’d taken as creative director on a major international brand, I was reviewing a creative brief that had been approved by the client and was the inspiration for a batch of new creative work that would be presented a week hence.

The brief was a disappointment. The single-minded proposition was a disaster. It was, rather than singularly focused, a triple-minded Frankenstein’s monster. I remember sighing audibly, then asking if it were too late to re-visit the SMP. 04

“The client really likes this one,” I was told. “But if you insist, we can set up a conference call.”

It was a battle worth fighting, but the timing was definitely wrong. I acquiesced instead.

It was not the first time I had read such a beast on a creative brief, nor the last. It’s no accident that when I started teaching college freshman English, I encountered the same apprehension and confusion around writing the dreaded “thesis statement” in a college essay.

The “thesis” and the “SMP” are two sides of the same coin: They are the hardest sentence/phrase to write and the most important statements in their respective vehicles. When done well, they are a thing of beauty and the inspiration for the rest of the document. When done poorly, everything else suffers.

Two thoughts can guide you here, with some inspired clarity from writer, philosopher, and painter, Walter Russell:

Mediocrity is self-inflicted. Genius is self-bestowed.

There is no reason for the SMP to be such an intimidating exercise. Like everything else we do as communication professionals, the more we practice a thing, the better we become at it. A few minutes examining what the really good single-minded propositions have in common reveals much for us to absorb and from which we can benefit.

First, let’s set the stage with a solid definition of the single-minded proposition.

My favorite comes from Jon Steel’s book, “Truth, Lies and Advertising,” when he quotes John Hegarty, the legendary creative leader at BBH in London.

Hegarty suggests that you write the single-minded proposition on a piece of paper, above or below an image of the product. The result becomes, in his words, a “good” ad, but not necessarily a great ad. The SMP, says Hegarty, is the “first ad.” I would amplify that definition by saying it’s the first draft of the first ad. The creatives use it as inspiration for what, everyone hopes, becomes the polished, final draft ad.

In other words, the SMP is the Big Idea. The creatives unearth Big Executions of the Big Idea, what we call creative solutions.

Here is some thinking from other advertising practitioners:

A proposition is the one-liner – usually rounding off the brief – that encapsulates the strategic thought that we’re asking our creatives to dramatise and bring to life as ads. Indeed, it is usually this one-liner that creates the most debate from all parties involved, as reductive thinking is inherently controversial.

Matt Hunt, European Head of Planning, Grey Healthcare Group

I had to think for a while to remember the last time I saw a pure proposition; one free from bullshit and extras, that simply tells you where to start digging…too many account teams and clients no longer understand what a single-minded thought actually is.

The Denver Egoist

Now, let’s examine a few examples of single-minded propositions for real products from real creative briefs. (Notice that all of these SMPs come from dated briefs, some more than 20 years old. It is notoriously difficult to pry a brief from the proprietarily paranoid…er…protective ad agency.) single_minded_1337085

Toro (circa 2010):

Toro makes the tools. You make the yard.

H&R Block (circa 2008):

Now you can have an expert on your side.

Izuzu Rodeo SUV (circa 1994):

The normal rules don’t apply.

AARP (circa unknown):

AARP gives you the power to make up your own rules.

Lexus GS300 relaunch (circa 1998):

The GS300 is the kick-ass Lexus.

These single-minded propositions have much in common, and much from which we can learn. I’m sure you’ve drawn your own conclusions after having glanced at the list above, so compare your list with mine. I have deliberately not presented the creative because I want your focus on the SMP, not the resulting creative.

The point is, unless and until you take the time to really examine these sentences and understand why they work, the SMP will remain an intimidating mystery for the person who has to write it, and an eternal source of ire for the creatives who must work from it.

1. It is often just a phrase, but never longer than a sentence.

Obvious, yes. But when you’ve suffered the slings and arrows of outrageous paragraph long, throw-in-the-kitchen sink SMPs, I hope you’ll see that the good SMP is concise. Obvious, yes, but not so obvious when you have to face your client. gleamingkitchensink

2. Its focus is always singular; it’s about one thing only.

Obvious, yes…again. Its called “single-minded” for a reason. Research repeatedly shows that consumers respond more readily to one, neat idea.

3. The best SMP is modest because it doesn’t need to be any more.

You’re not competing with the creative department. You’re showing them a starting point. Think about Hegarty’s definition: The SMP doesn’t have to be great, just good. The SMPs I’ve shared with you here fit that definition.

4. The best ones are fearless.

Like a college essay’s thesis, the SMP must take a stand. Once you realize that an SMP is not for public consumption, you operate from a place of freedom. Remember your audience: The creative department. They depend on you, the writer, to kick-start their thinking. If you’re not brave, you make it harder for them to be.

The SMP is the first thing creatives look for on a brief. Their body language is impossible to miss after they’ve read one. Obvious…yes?

Don’t settle for the mediocre. Practice combined with confidence creates genius.

 

A Creative Brief Manifesto

manifesto11For almost seven years, I have toiled as the “one lone voice speaking out” on behalf of the Creative Brief, in the opinion of my esteemed colleague Sean Duffy, a man of wisdom and impeccable taste.

It has been a labor of love. The Creative Brief represents the best of the analytical side and the imaginative side of the advertising business, a combination that I revel in as a former direct-response creative.

I cherish any opportunity to dissect, explain, advocate for, instruct on, and simply talk about this under-appreciated, abused and too often poorly written document.

But it is more than a document. It is the best-kept secret for any one or any organization in search of a simple, direct method for establishing a value proposition.

I suggest that the Creative Brief escape its advertising-industry handcuffs and fulfill its promise as a purposeful roadmap for any business, any entrepreneur, anyone with a vision to market a product or service and who also struggles with arriving at the unique selling proposition. The one thing.

This struggle is common. It is universal: Everyone experiences it. There is a solution.

In trained hands the Creative Brief has the power to exquisitely distill anything—an ad campaign, a brand, a philanthropic foundation, your life’s ambition.

At its best, the Creative Brief promises gravitas by means of the Socratic Method. It is not, and should not be, limited to the advertising and creative businesses, where, quite frankly, it has languished as the poor step-child of the creative process in spite of its role as the creative kick-starter. Socrates_Louvre

So allow me to present a treatise on behalf of everyone who believes the best is possible even when the best is too often a mere hope.

This Creative Brief Manifesto is a set of prescriptions for businesses to adopt to clarify their message, to hone their value proposition. Critically, the brief is about content, not format. Adapt the five points below into provocative questions. The answers provide the imaginative shove that gets you—or your designated team—to your objective.

Remember, this is the starting point, not the ending. All great endings require an inspired beginning. Otherwise, as Euripides said, “A bad beginning makes a bad ending.” Which is a fancy way of saying, “Garbage in, garbage out.”

1. Start with feelings, not facts.

Social scientists, marketing researchers, creatives and many others all have ample evidence to demonstrate that you and I may rely on facts to help us make decisions, but if our hearts are not moved, if we do not have a strong feeling, we are not truly committed to the thing, whatever it might be.

This truth has nothing to do with what the client or the business owner wants the feeling to be. It’s all about discovering what the customer feels…and why. emotion

2. You’ll never grasp the emotion without first discovering an insight.

If you don’t know Socrates, you don’t know Jack. Think you need a ginormous research budget to unearth this so-called “insight”? You don’t. If you know how the Socratic Method works, you have the basic tools you need to discover an insight.

3. What’s in it for me?

The single-minded proposition (SMP) has fans and detractors, but one fact remains unchallenged: Customers remember what resonates with them. Keep it simple. Make it  memorable.

The point is no longer to merely intrude and be pervasive. You must engage. It’s not about one-way communication in the age of social media. It’s about a conversation.

But whether you support or abhor the SMP, clarity (i.e. distillation, conciseness, laser focus) is the mandatory exercise.

4. Prove it!

You will never fall in love if there is no trust.

There is always a role for facts, and to seal the deal for the love affair, offer evidence that the emotional claim is believable. The best evidence has not changed: Testimonials, awards for reliability and quality, #1 best-seller.

Or, as Rod Tidwell says to Jerry McGuire, “Show me the money!”

5. Begin the story here.

Remember the Native American proverb: “Tell me a fact and I will learn. Tell me a truth and I will believe. Tell me a story and it will live forever in my heart.” The Creative Brief is the moral to the as-yet untold brand story.

It is a kind of “here’s where we want to end up” without knowing the path to that ending. The brief suggests a path, it points in the right direction, and trusts that those who execute from the brief will get there. Who knows how many left or right turns might be necessary, many or all of which appear to be leading you astray.

This is the great unknown, the mystery that arises from every brief: The writers put their trust in those who execute from the brief, and those team members trust the writers to have done their jobs in refining—distilling—the brief to its clarifying finest. Here is what you need to know, the brief tells them, and what is here will inspire you. Go, now, and perform alchemy.

How many practitioners believe it is possible? It’s just a piece of paper, they say. Don’t expect too much.

It’s time to stop thinking that way. What’s on that piece of paper is a product of human inspiration.

Invest in the outcome. Trustworthiness

Make sure you have skin in the game.

The Creative Brief is the best-kept secret for anyone or any business that wants a clearly marked path to an effective and believable value proposition.

 

 

 

50 years after its invention, the creative brief needs some fixes.

The creative brief dates to the early 1960s when account planning was introduced to the advertising world by a Brit named Stanley Pollitt. This year marks the 50th anniversary of the creative brief. Its role in developing great advertising deserves recognition and, no disrespect intended, a review. All good things can be improved.

As both an admirer and advocate of the creative brief, I offer a small gift to this document’s long history: Some ideas to make the creative brief better.

1. Consumers make decisions about brands based on their feelings, not their brains. The Single-Minded Proposition must reflect this truth.

This is an insight that is not new, but is slow to be embraced. Some account planners and academics have been writing about this topic, and I have written about it without being fully aware of the research. Professional experience, however, is hard to ignore.

Too often, we accept single-minded propositions that focus on rationality, on a mistaken belief that people make decisions based on facts and evidence, that we act reasonably. The process humans follow to arrive at a buying decision is sloppy, filled with irrational thinking, often contrary to our own best interests. Branding would not exist as we recognize it today if it were not because of this odd path we take before we open our wallets.

We must, therefore, change the way we view the core of the creative brief—the single-minded proposition. Some argue that the “single” nature of this idea is a relic, and there may be some truth in that, but I believe the most important argument here is the missing, or under-representation of, emotion. faces-small

It’s a scary thing to place so much weight on a hard-to-measure part of human psychology. The good news is, measuring emotional responses is actually getting easier, and more social scientists are exploring it, with fascinating results.

Advertising driven by direct appeals to emotion also works better. It is often more engaging, more humorous and more memorable. Refer to the link above for evidence and its nearly five pages of references.

The single-minded proposition is dead, as I suggested in a recent post. It must be replaced by an updated single-minded proposition that embraces the human nature of decision making: The messy, dynamic, more trustworthy emotions that make us who we are.

Just ask any creative. She knows from experience.

2. Creative brief writers must become better writers.

We must all become better writers, but this is especially true for communications professionals.

Please don’t mistake this as a plea for better headline writers. Anyone can write a headline. For proof, visit a parking lot and see how many clever personal license tags you can find. writer-1-300x300

Good, clear writing is a direct result of good, clear thinking. The creative brief is the first step in the creative process. It is the first ad written for any new communications project. It is the inspiration for the creative team. It must carry this weight with grace.

A poorly written creative brief is uninspiring for one reason and one reason only: Lack of clarity.

Contrary to conventional wisdom, lack of clarity is not, repeat not, because the brief fails to offer “outside the box” thinking, a term that has become meaningless; worse, it is simply dumb and wrong.

Lack of clarity means incoherent, unintelligible, not particular. It means fuzzy, blurred, unsharp. Good writing makes ideas coherent, intelligible, particular. Good brief writing makes coherent ideas sizzle.

Creative brief writers must be dedicated practitioners of the art of clear writing, first and foremost.

3. Collaborate, collaborate, collaborate.

Less is more does not work in this space. Creative teams are called teams for a reason. Isn’t it about time we initiate creative brief teams?

If you have a stake in the outcome, you vest yourself. It’s time for creatives to take an equity stake in the document they love to loathe.

4. Re-new your vows to the creative brief.

I came across a blog post from a thoughtful account planner who suggested that the creative brief had outlived its usefulness and that in its place, clients, agencies and creatives should substitute a freer, uninhibited approach to producing creative solutions: A kind of “divergent thinking meets convergent thinking” informal brainstorming session.

I found myself shaking my head for the nth time. Someone is always trashing the document when the problem, in fact, is the content and the content’s originators.

No matter who complains about the creative brief, the complaint is rarely different: It doesn’t inspire enough. It doesn’t propel good thinking enough. It doesn’t work hard enough. It doesn’t do something quite enough.

To my thinking, this misses the point. The document is simply a place holder. It is ultimately only as good as the answers its questions provoke. Asking better questions might help, but that is the easy part. Producing better answers is my response, and it is definitely the hardest part.

Don’t blame a poorly imagined story on the document in which it resides. Look at yourself, the story teller.

transmutation_circle_part_1_by_orbita2k2-d5mkp26Renew your vows to this instrument of inspiration. Believe it can perform alchemy and it will. It is a blank space awaiting…